


The Divine's Beloved

by Todteufelritter



Category: Dragon Age: Inquisition
Genre: F/M
Language: English
Status: Completed
Published: 2020-12-24
Updated: 2020-12-24
Packaged: 2021-03-10 19:48:11
Rating: Teen And Up Audiences
Warnings: No Archive Warnings Apply
Chapters: 1
Words: 305
Publisher: archiveofourown.org
Story URL: https://archiveofourown.org/works/28292622
Author URL: https://archiveofourown.org/users/Todteufelritter/pseuds/Todteufelritter
Summary: Post Game headcanon turned into in universe lore.
Relationships: Male Inquisitor/Cassandra Pentaghast
Kudos: 2





	The Divine's Beloved

"An eccentricity of the Divine Victoria's reign is that for two weeks each year Most Holy would set aside the trappings of her office, her duties and even her name and travel once again with her old companions. With them she was Cassandra again. They would ride through the Dales, or the wastes of northern Nevarra. Her companions would change. Sometimes the mysterious Tevinter would accompany her, or Varric Tethris (who was not yet the official chronicler of her tenure) would travel from the Free Marches, sometimes she would be heard trading jibes with a Qunari Tal Vashoth whose name is forgotten. But the Inquisitor would always accompany her, and for that two weeks was always with her."  
From "The Reforming Divines: Victoria and Her Successors"

"Historians of the sculpture of the Late Dragon Age have much neglected the crypt of the Grand Cathedral. It is true that the Divine's effigies are largely formulaic. Even the folds of their robes seem stiff and artificial, as though the sculptors were copying other statues, instead of cloth. But there are at least two effigies of some interest.  
There are two armoured effigies in the crypt. The Divine Victoria is the only divine that was sculpted in armour, while the Inquisitor is the only non-divine in the crypt. Their effigies are next to one another, though they are nearly obscured by the shrines since built around them. Their features are lifelike and exact, down to the scars on both of their faces. Every flute of their armour has been replicated exactly. They are shown in the traditional position of repose, except for their hands. Each has a hand crossed over their body, subtly extended toward the other figure, as though their stone fingers were about to touch."  
From "Orlesian Ecclesiastical Sculpture of the Late Dragon Age: A Survey"

**Author's Note:**

> Yes, the second part is a Dragon Age fan work inspired by a Philip Larkin poem. Deal.


End file.
